Witchboard

Cast View all

	Madison Iseman	Emily
	Aaron Dominguez	Christian
	Melanie Jarnson	Brooke
	Charlie Tahan	Richie
	Antonia Desplat	Naga Soth
	Jamie Campbell Bower	Alexander Babtiste
	David La Haye	Bishop Grogan
	Victoria Grosselfuenger	Sierra
	Jamal Azémar	Zack
	Riley Russell	Jackie
	Kade Vu	Kane
	Renee Herbert	Asha 1
	Elisha Herbert	Asha 2
	Chiara Fossati	Asha 3
	Francesco Filice	Jessie
	Simon Anthony	William Douchet
	Kent McQuaid	Booker
	Shawn Baichoo	Lebarge
	Laura Paolillo	Medusa
	Max Laferriere	Husband
	Carl Alacchi	Archbishop
	Meghan Gabruch	News Caster
	Dakota Jamal Wellman	Michael Dakota
	Noah Parker	Jamey
	Alex Gravenstein	Pastor

Crew View all

Director	Chuck Russell
Writer	Greg McKay, Chuck Russell, Kevin Tenney
Producer	Robert Abramoff, Barry Brewer, Sarah Buxton, J.J. Caruth, Marc Cote, Arianne Fraser, Jeff Geoffray, Bernie Gewissler, John Paul Isham, Patrick Josten, Walter Josten, Julie Lundy, Cynthia Mateu, Greg McKay, Rick Morse, Delphine Perrier, Olivier Picard, David Pierrat, Jean-François Roesler, Marc Rousseau, Chuck Russell, Logan Russell, Yannick Sadler, Eric Schiermeyer, Kevin Tenney, Kade Vu, Ania Zeyne
Musician	Sam Ewing
Photography	Yaron Levy

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Notes

My quick rating - 5.6/10. From horror’s self-proclaimed Dream Warrior Chuck Russell comes Witchboard, a glossy, pagan-tinged possession flick that kicks off with a surprisingly decent prologue in 1693 France. A coven performs a ritual, blood flies, and boom — we meet the cursed Witchboard, complete with CGI that screams “don’t worry, there’s more where that came from.” Luckily, Russell isn’t all pixels. Whenever the camera leans in close, there are some satisfying practical gags that keep things grounded, at least for a bit.

The titular evil relic ends up abandoned in the woods after a robbery gone wrong (why it is abandoned comes into play later), where young couple Emily (Madison Iseman) and Christian (Aaron Dominguez) stumble across it like it’s driftwood. Bad decisions follow, and then worse ones, until they’re knee-deep in supernatural chaos. The highlight is a banquet scene that goes from refined to Hellraiser-level carnage in seconds. The digital bloodshed is excessive but undeniably fun — if you’re gonna go silly, at least go big.

I vaguely remember the 1986 original being decent, though to be fair, Tawny Kitaen at age thirteen might’ve boosted my critical objectivity. This new incarnation at least builds a coherent mythology around its possession angle, and when the film slows down long enough to let paranoia sink in, the tension actually works. It is, however, very flashback-happy. Every time I got fully immersed, we’d rewind another century like the editor had a quota to meet.

Iseman pulls extra weight here, balancing dual timelines and personalities without slipping into parody. She’s more than your average final girl, and the movie’s better for it. Unfortunately, the climactic effects go full Saturday-morning-CGI, instantly snapping any sense of dread. It’s the exact opposite of the banquet — instead of “whoa,” it’s “oh… okay.” And just when you think it’s over, the movie tosses in one more goofy stinger about religious institutions dabbling in the occult, which would’ve been clever if it didn’t feel like the world’s most awkward post-credits wink.

Would I watch a sequel? Honestly, yes. There’s enough pagan/Wiccan lore here to justify another go, especially if the creative team reins in the digital cheese and tightens up the pacing. Witchboard won’t hit my top ten of the year, but as a glossy, blood-slick occult romp? It’s fun for what it’s worth — even if half the fun comes from rolling your eyes while grinning.

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